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Batman: The Dark Knight Returns
Batman: The Dark Knight Returns (commonly abbreviated to DKR) is a Batman comic book story written and drawn by Frank Miller and published by DC Comics from February to June 1986. Batman: The Dark Knight Returns is especially notable as the series which dispels Batman's former campy image, a result of the 1960s television series and for pitting Batman and his former ally Superman against each other. It is also the penultimate story in Miller's Dark Knight Universe. Overview DKR was originally published as a four-issue limited series in a then-new printing format called prestige format. This format later became more common. In addition to Frank Miller's story and pencils, Klaus Janson inks, and Lynn Varley provides colors for the series. Just as the characters of Norse mythology have their Ragnarok, Frank Miller sought to create a fitting end for the character of Batman. DKR takes place in a timeline outside the continuity]] of DC Comics's [[DC Universe, but is still considered at least partially faithful to the source material and Batman mythos at the time it debuted, as it makes use of Post-Crisis characters. Certain elements of the main DC Universe did eventually come to match Miller's tale, most notably some of the backstory of the series. For example, Miller's Batman is haunted by the death of Robin, and later the character's lack of popularity lead to the A Death in the Family story, where he is killed by the Joker. Also, an explanation of how Miller's Green Arrow lost his arm is used, although in this latter case, continuity deviates somewhat from DKR. Synopsis "The Dark Knight Returns" The book is thought to be set during the Cold War, but the intro mentions it being 20 years in the future. It is a dark, depressing world where criminals run amok in the absence of superheroes. Gotham City is terrorized by a gang of vicious and aimless teenage murderers, the Mutants. A now 55-year-old Bruce Wayne has been retired for ten years following the death of the second Robin, Jason Todd (murdered by the Joker). Attempting to bury his guilt over Jason's death, Wayne has turned to alcoholism, near-suicidal recreational activities, and has funded the rehabilitation of Two-Face in an attempt to prove to the world - and to himself - that a man's demons can be truly exorcised. On the eve of Commissioner Gordon's forced retirement, however, two events push Wayne to reestablish the presence of his alter ego: a major crime wave hits the city, and Two-Face's rehabilitation goes awry. An enormous bat crashes through the windows of Wayne Manor, symbolizing the psychological return. Re-donning the cape and cowl, Batman must deal with a world where even the petty criminals are homicidal maniacs who kill for thrills. He no longer has the absolute support of the police, public, or government. Miller's interpretation of Gotham (and of America) is a place of deep moral ambiguity. Reporters and psychologists see the Joker as a victim and Batman as the madman. The new Police Commissioner is upstanding, capable, and smart, a fitting replacement for Gordon - yet she has no love for the Batman, and hunts him ruthlessly. Even Superman himself has been twisted into a covert agent for America's Cold War agenda, putting his loyalty to the American government above his fight for the American Way. Batman spends no time fretting over these ambiguities; instead, he seeks to impose his stark black-and-white view on a world of relativism. DKR deals in large part with Wayne's uncompromising obsession with his dual identity, in opposition to a world where duality has gone by the wayside. In this bleak landscape, Batman's obsessions and demons finally, completely, submerge Bruce Wayne, and the Dark Knight is given free rein to wage his war without inhibition. In DKR, Batman has changed since he last put on the cape: though still quite strong and up to the physical task of apprehending ordinary criminals, Wayne is forced to acknowledge to himself that his advanced age and long period of inactivity have diminished both his skills and his ability to withstand and recover from injury. And, unknown to anyone, the Joker has likewise emerged from retirement. Catatonic (and without his trademark evil grin) in Arkham Asylum for the ten years of Batman's absence, the Clown Prince of Crime reawakens to his twisted, hateful obsession of the Dark Knight, upon hearing a television report about Batman's return. Much of the story takes place on a television screen where journalists, experts, politicians and the public debate the rights and wrongs of Batman's methods and influence: some like Lana Lang praise him for reclaiming the streets from the criminals, while others criticise him for not observing the civil rights of these same criminals. The issue culminates with an out-of-control, nearly suicidal Two-Face threatening to blow up Gotham's Twin Towers; however Batman is able to deduce and foil the scheme. In their struggle, Batman removes the bandages that have been covering Dent's face, expecting to find Two-Face's visage split in its classic dichotomy. Instead, he sees Dent whole and handsome on the outside, but fully lost within his own mind. In Dent, Batman sees a "reflection": just as the restoration of Harvey's face led to the final destruction of his sanity, the Batman persona has become all the stronger for having lain hidden under Bruce Wayne for a decade. "The Dark Knight Triumphant" The second part chronicles Batman's struggle against Gotham's newest criminal threat, the vicious Mutant gang and their anonymous leader. As he walks to work, contemplating his upcoming retirement, Jim Gordon is almost killed by a 17-year old boy with an M60. In the course of rescuing a young child, Batman discovers that a cash-broke Army general and war hero has been arming the Mutants, in return for the money to help his sick wife. When Batman confronts him, the General commits suicide. Meanwhile, the Mayor has appointed a qualified woman as Gordon's successor, Ellen Yindel, who worships Gordon but despises vigilantes. And a young girl who owes her life to Batman, Carrie Kelly, decides to seek out her hero and takes on the role of Robin. Following his leads, the Caped Crusader succeeds in tracking down the Mutant lair and defeating them with the Batmobile (which Miller reimagines as an armored supertank rebuilt by Batman during riots ten years ago, with large cannons and machine guns that, according to Batman, only fire rubber bullets). In a brutal hand-to-hand fight, Batman is defeated and almost killed by the Mutant Leader, as the aging Caped Crusader tries to prove to himself (and Alfred) that he is a force at any age. Luckily, Carrie, in her new Robin costume, has been following Batman, and manages to save him. Batman returns to the Batcave where Alfred tends his wounds (and argues with him over the danger to Carrie); meanwhile, the Mutant Leader is brought into custody. The Leader's absolute animalistic nature (and, hence, the animalistic nature of his underlings) is fully revealed when the Leader manages to tear out the Mayor's throat while in custody. Gordon and Batman conspire to defeat the Mutants psychologically by staging a fight between Batman and the Leader in front of the whole Mutant gang. Using his greater experience and his environment, Batman cripples the Mutant Leader in full view of his followers. While many of the Mutants are arrested, many more now latch on to Batman as their role model, dubbing themselves the "Sons of Batman." However, their interpretation of Batman's quest will leave much to be desired. The issue ends with James Gordon, looking forward to his retirement from the madness of Gotham and regretting the predicament that Batman will find himself in: caught between criminals and the police. "Hunt The Dark Knight" "Hunt The Dark Knight" returns Batman to his classic struggle, against the incomprehensible madness of the Joker. Newly awakened from his catatonia, the Joker has been slowly returning to his mad schemes while still incarcerated. He convinces his psychiatrist, the fame-seeking (and Batman-hating) Dr. Bartholomew Wolper, that he is not only sane but regretful. Seeking to discredit Batman, Wolper intends to exhibit the Joker on a late-night show ("David Endochrine", parodying Late Night with David Letterman) in order to "prove" that the Joker is actually a victim of Batman's own "psychosis." Not pleased with this turn of events, Yindel places a heavy guard on the building. However, she still sees the primary threat as Batman and intends to arrest him if he appears. As the police are occupied with attacking Batman, the Joker murders everyone in the studio (including Endochrine and Wolper) with his "smile gas" (Smilex) and escapes. Batman follows him to Selina Kyle's, where the former Catwoman has become a depressed, alcoholic and overweight madame. The Joker uses two of her girls to drive local politicians to suicide. He then beats and dresses Selina Kyle up as Wonder Woman, leaving a clear clue for Batman to follow. When the police burst into Selina's flat, Batman and Robin escape, but Yindel notices the young sidekick and adds "child endangerment" to the list of charges against Batman. But he then calls her up on her radio to say that it is up to her to rescue the Governor from another Joker threat. Yindel is left lost for words. With the police on his heels, Batman, accompanied by Robin, tracks the Joker down to a county fair. They arrive too late to prevent the Joker from poisoning to death a group of young Cub Scouts, but Robin is dispatched to prevent the Joker's accomplice from blowing up a rollercoaster loaded with riders. Robin succeeds in getting the bomb clear of the ride on the moment of exploding, but in the fight that follows the Joker's accomplice is killed. Meanwhile, Batman pursues and defeats Joker in a bloody and violent showdown. Throughout the past days, the Batman has been preparing to do what he never could before: kill the Joker and end the cycle of meaningless deaths once and for all. But in the end, he still cannot bring himself to kill his old enemy, stopping himself before fully killing the Joker, leaving him paralyzed instead. The Joker, laughing madly, commits suicide by twisting his own broken neck, intending for the police to charge Batman with murder. In this episode, Superman is introduced as an undercover agent for the American government (under a President who is unnamed but recognizable as Ronald Reagan). Superman travels to Gotham to persuade Batman to keep a low profile. However, tensions with the Soviet Union are reaching a head over U.S. support for a South American country named Corto Maltese (a reference to the comic strip by Hugo Pratt), and Superman is called away to "deal with it." He and other super-heroes, like Green Arrow and Wonder Woman, are referred to only by their civilian names: i.e., "Clark" or "Kent", "Oliver" and "Diana". Also, the Sons of the Batman have begun to make their presence known, taking an even more brutal - and deadly - tack towards criminals than Batman. Despite Batman's non-involvement, the actions of the "SOB's" only incenses the growing anti-Batman forces in the government and media further. "The Dark Knight Falls" All these threads converge in "The Dark Knight Falls", when the USSR launches a nuclear warhead called Coldbringer in response to Superman's presence in Corto Maltese. Superman manages to divert the missile to an uninhabited desert area before it detonates, but damage is done nonetheless. The warhead was designed to disrupt all electronics and communications in the Western Hemisphere as well as throw millions of tons of dust and debris into the atmosphere. Deprived of the sunlight that gives him his powers, Superman nearly dies. Gotham descends almost immediately into chaos as the blackout hits, with rioting and looting rocking the city. An airplane crippled by the electromagnetic pulse crashes into a building, feeding the panic. A few citizens, including Jim Gordon, pull together to fight the fires and retain some semblance of civilization until the power is restored. Though near death from wounds inflicted during his fight with the Joker and the police, Batman applies his ingenuity to restoring law to Gotham. He and Robin muster a force of SOBs and train them in non-lethal methods as a means to stop looting and ensure the flow of needed supplies. Gotham, ironically, soon becomes the safest and best-fed city in America. Seeing this as an embarrassment rather than a blessing, the U.S. government dispatches Superman to take the Dark Knight down. Warned of their plans by Oliver Queen, the former Green Arrow who is now a bitter one-armed revolutionary, Batman prepares for his ultimate clash. Armed with an artificial powered exoskeleton, the Batmobile, synthetic kryptonite and a mysterious pill, Batman confronts Superman in a final showdown at Crime Alley, where Wayne's parents were murdered decades earlier. Batman manages to defeat the weakened Superman, only to die of a heart attack at the stroke of midnight. At precisely the same moment, Alfred oversees the destruction of the Batcave and Wayne Manor, suffers a fatal stroke immediately afterward (his last thought as he realizes that he is dying is "how utterly proper"). The news that Bruce Wayne was Batman spreads throughout the world; however, Wayne's stocks and funds have been sold and liquidated to his "heirs" and Wayne boardmembers, Wayne Manor and Batcave destroyed, and all evidence as to his methods and tools wiped out. At a funeral attended by Gordon, Kyle, Yindel, Carrie and others, Superman (as Clark Kent) is plainly ravaged with sadness and guilt. Just as he turns to leave, however, he hears a faint heartbeat coming from the interred coffin. After staring at Carrie for a few silent moments, Kent gives her a wink and leaves. Wayne has faked his death with planning, skill, and his knowledge of chemistry; Carrie digs up his living body as soon as possible. Wayne had hoped to keep the secret even from Superman; with his wink, however, Kent confirms Wayne's hope that he would play along with the charade. Bruce Wayne, finally looking forward to his life, leads Robin, Green Arrow, and his army deep into the unexplored caverns beyond the Batcave, preparing to continue his fight for justice in a more low-key, but equally important, way than in his "previous life." Characters Batman, aka Bruce Wayne, 55 years old. He gave up the Batman identity ten years ago, strongly hinted as a reaction to the death of the former Robin, Jason Todd. But when he sees violence running rampant and his personal demons can no longer be denied, he is forced to return. Alfred Pennyworth, Wayne's trusty butler and assistant, now in his 80s. He dies of a stroke at the end of the book. Robin, aka Carrie Kelley, 13 years old. She becomes Robin, and is accepted by the Batman after saving his life. James Gordon, Commissioner of the Gotham Police, 70 years old. He retires towards the end of the storyline. Two-Face, aka now middle-aged Harvey Dent, whose face is reconstructed with plastic surgery, but is still Two-Face in his mind and cannot refrain from criminal acts. The Joker as an elderly catatonic prisoner of Arkham Asylum. He becomes a criminal again when he sees Batman returning, and sets in motion a final confrontation with him. The Mutant Leader, head of a gang of teens called the "Mutants" who terrorizes Gotham. The leader is a strong, savage brute who puts a hit on Gordon, beats Batman in their first encounter, goes to jail, kills the mayor (while still in jail), escapes, and is beaten by Batman. Several of the Mutants join Batman in his quest and rename themselves The Sons Of Batman. Sons Of Batman (S.O.B.), a group of teenagers. They have become followers of Batman, although they are too unruly and corrupt, taking severe measures to control the streets and even Batman. They end up following Batman for good intentions instead of bad. Dr. Bartholomew Wolper, the Joker's psychiatrist and staunch opponent of Batman's "fascist" vigilantism. Wolper is convinced that the Joker is really the victim of Batman's crusades, but he ends up murdered by his patient on a late night talk show. Ellen Yindel, James Gordon's successor. She starts off as Batman's fiercest opponent, but doubts herself after the Joker debacle (part 3) and is strongly hinted to protect him from prosecution at the end of the book. Green Arrow, aka Oliver Queen. He has undertaken a clandestine career of terrorism against government oppression. He lost his left arm years ago and has a grudge against Superman because of that. Superman, aka Clark Kent, a military superagent for the United States government. He has agreed to stay out of sight and do as he's told, and in exchange he is allowed to continue saving lives. His very existence seems to be a bit of a taboo subject: when incidents involving him are reported on the TV news, the main newscaster is constantly prevented from naming or making distinctive references to the Man of Steel. Unlike Batman, who is now middle-aged, Superman has remained (at least physically) in his early to mid-thirties. According to Miller, '"Superman has always been 30 and will always be 30."' Catwoman, aka Selina Kyle, who now runs an escort service. Lana Lang, TV broadcaster and fierce defender of Batman's vigilantism. Reputation Upon its publication, Batman: The Dark Knight Returns turned the comic book industry on its ear. It helped to introduce an era of more adult-oriented storytelling to the mainstream world of superhero comic books, and it received media attention the likes of which had never seen before in a medium long believed to be little more than children's entertainment. This story, along with Alan Moore's Watchmen (published in the same year) and Art Spiegelman's Maus, helped to raise the medium to a more mature level of literature, and it ushered in the popularity of graphic novels as a form of literature that truly differs from "child-oriented comic books." Critics have accused this story of giving birth to the era of "grim and gritty" comic books that lasted from the late 1980s through the early 1990s, when comic books took many adult-oriented themes (especially explicit violence and sexual content) to "the limits of decency." Although the Batman has rarely been as obsessive and powerful a figure as Miller depicts him here, Batman: The Dark Knight Returns was tremendously influential; since the work was originally published, Miller's portrayal of the character as a dark and compulsive figure has dominated most Batman projects to at least some degree. This includes the 1989 Batman film directed by Tim Burton which drew upon Batman: The Dark Knight Returns (as well as Alan Moore and Brian Bolland's graphic novel Batman: The Killing Joke) as a major influence. Some have criticized Dark Knight for eventually causing Batman to become a "psycho" in mainstream DC continuity (which is how some view him today), but it is important to note that in the context of the story, Batman's extreme and obsessive actions are a direct result of his overcompensating for his guilt over giving up his life as Batman ten years ago and thus breaking his childhood vow to wage war against crime. Another innovation is the way in which the superheroes address one another by name (i.e. as "Bruce", "Clark" or "Oliver"). The U.S. officials always refer to Superman as "Kent". The name "Superman" is never even used in the story. The super-heroes look upon their relationship with ordinary humans as a "them" and "us" situation, and Batman is criticized for not realizing "how they've changed"! This us versus them mentality that is developed amongst the super-heros is a theme that widespread and used in several other comics, most notably Kingdom Come. Another controversial criticism is that Dick Grayson, the first Robin and the current Nightwing, is not included in the storyline at all. Miller has stated that he wanted it to focus entirely on Batman and those around him. Dick is mentioned but he and Bruce are not on speaking terms. However, Miller's innovations were not solely limited to characterization. He adopted innovative visual styles and "tricks," many adapted from movies (especially film noir). These included dividing pages into many more frames than usual to give the impression of slow motion (possibly the best comicbook interpretation of Thomas and Martha Wayne's murders is achieved by this technique). Also, Miller contrasts many smaller frames against grand backdrops of Batman leaping or brooding over the cityscape; creates "montages" of fast-paced events through rapidly changing commentators, alternated with snippets of the actions being described; and builds suspense to the appearance of classic characters by hiding their actions and appearance in shadows (not just the first depiction of Batman, but Superman and Green Arrow as well). Miller also heavily featured television "talking heads" throughout the work. Numerous public figures were blatantly lampooned, including Ronald Reagan, Dr. Ruth and David Letterman, adding to the suspension of disbelief that made the comic not realistic, but an example of the hyperrealism that would later reach its peak in Miller's Sin City. While there is a generic and omniscient narrator, the most important narration comes from inside various character's heads: Batman, Jim Gordon, Robin, Catwoman, Alfred and even the Joker all are opened up to examination. The trade paperback is one of DC's best selling books and is constantly in print. The book is also available in several hardcover editions. In August 2006, DC Comics will release an Absolute Edition of Batman: The Dark Knight Returns and Batman: The Dark Knight Strikes Again will be released. Absolute Dark Knight will include commentary and scripts by Frank Miller, as well as an extended sketch section. In 2001 and 2002, DC Comics published Batman: The Dark Knight Strikes Again, Miller's controversial sequel to Batman: The Dark Knight Returns. Despite a heavy promotional campaign by the publisher, the book failed to gain the same acceptance from some fans that the original story received. The sequel, which differs drastically in style from the original, received mixed reviews but was one of DC's biggest selling titles of the time. Despite generally positive critical reaction to Miller's art styles, fan commentary has been mixed; some have praised the works for their unique looks, while others have lamented the more stylized visuals. Other media In The New Batman Adventures episode "Legends of the Dark Knight", a girl who resembles Carrie Kelley, called "Kelly", is one of three children telling stories of what they believe Batman is like. Her story is a recreation of Batman's fight with the Mutant gang leader, complete with a tank-like Batmobile and Carrie Kelly as Robin. Much of the dialogue in the segment is lifted directly from the pages of Batman: The Dark Knight Returns. The Batman Beyond series takes place 20 years after Bruce Wayne retired, now old and grizzled like in Batman: The Dark Knight Returns. In Batman Beyond, however, he guides a new, young Batman from his computer in the Batcave. A "flash-forward" episode in the fourth season of The Batman will depict Gotham City in 2027 with Batman resembling the Batman: The Dark Knight Returns version alongside versions of Oracle and Nightwing modeled on their The Batman universe characters. Homages and parodies (January 1993). Pencils by David Lapham.]] *The legendary cover of Batman: The Dark Knight Returns #1 as well as the art and story itself has been the subject of parody and homage by many creators. Notable examples include Frank Miller's cover for 'Mazing Man #12 and the cover of Harbinger #13 by David Lapham. Miller's Dark Knight style was featured in the Planetary/Batman: Night on Earth one-off special written by Warren Ellis. *The character Darkwing Duck of Disney's animated series, who is obviously inspired by Batman, in one episode (Time and Punishment) stars in a dark alternate reality in which violence and injustice run rampant. In this episode, the normally campy, cheerful Darkwing Duck is reimagined as an older, embittered DarkWarrior Duck, a mentally unhinged, violent vigilante who goes over dead bodies to fulfill his goals and rules over his city of St. Canard with an iron fist. He wields a vast array of hand-held weapons, a powered exoskeleton and also a battle tank, very similar to the tank featured in DKR. *An episode of Fairly Oddparents featuring the Crimson Chin also guest-starred several other versions of the character, including a "grittier 80s Crimson Chin", possibly a reference to this version of Batman. *From the 1940s to the 1970s, Batman and Superman's relationship had always been depicted as that of close friends and allies: the "World's Finest". This series however depicted it as an edgy and uneasy one, in which the final confrontation is only a matter of time. The mainstream Post-Crisis DCU used elements of this depiction of the relationship between the two men: grudging respect and uneasy friendship, with underlying tension due to their vastly different personalities. *In the Alex Ross-illustrated Kingdom Come graphic novel, Batman, Superman, and Wonder Woman meet for lunch in a superhero-inspired restaurant. They are served by a waitress dressed as Robin and who may have been modeled on Carrie Kelley. *The name Ellen Yin was used for a character in Kids' WB's "The Batman" cartoon, a possible reference to Ellen Yindel. *The Tiny Toon Adventures character Plucky Duck would make several apperances as a Batman themed superhero named Bat-Duck. In one particular episode, Plucky recalled how he constantly refined his Bat-Duck image, at one point modeling himself off of the DKR version of Batman, complete with a rubber body suit to emulate the same physique. Plucky drops this image after a member of the Mutant gang pops his suit with a needle. Recommended Readings *Batman: The Dark Knight Returns #1 *Batman: The Dark Knight Returns #2 *Batman: The Dark Knight Returns #3 *Batman: The Dark Knight Returns #4 External links *The complete works of Frank Miller *[http://www.sequart.com/articles/index.php?article=780 Batman: The Dark Knight Returns and Batman: The Dark Knight Strikes Again discussed at sequart.com] *The Religious Affiliation of Characters in The Dark Knight Returns *Gotham City Batman Site Category:Storylines